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C. F. Ramuz-Igor Stravinsky, Histoire du soldat by Philippe Girard,Charles Ferdinand Ramuz,Igor Stravinsky,Alain Rochat Pdf
Contient le genèse du texte et des musiques; une chronique de la prépartion du spectacle en 1918; les critiques et les points de vue sur la première; les comptes.
L’Histoire du Soldat est un conte de Charles Ferdinand Ramuz sur une musique d’Igor Stravinsky. En troquant avec le diable son violon contre un livre qui prédit la fortune, un soldat découvre qu’il a perdu trois ans de sa vie et que sa famille l’a oublié. Amour ou richesse ? Il va devoir choisir. « Étrange rencontre » que celle de ces deux immenses créateurs ; profitable à l’un comme à l’autre. Précieuse pour Stravinsky à une étape particulièrement difficile de sa vie, marquante pour Ramuz dont l’écriture va se faire encore plus audacieuse et novatrice comme en témoignent les textes écrits entre 1917 et 1920. Nul doute, la grande prose poétique de Chant de notre Rhône (1920), les Morceaux qui formeront le recueil de Salutation paysanne et qui feront scandale en 1920, ont bénéficié de la rencontre avec le musicien, de leurs recherches communes. Jean-Louis Pierre Président de l’association « Les Amis de Ramuz »
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
Conversations with Igor Stravinsky by Robert Craft Pdf
Conversations with Igor Stravinsky is the first of the celebrated series of conversation books in which Stravinsky, prompted by Robert Craft, reviewed his long and remarkable life. The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity. Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'. The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot. 'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times
The New Grove Stravinsky by Stanley Sadie,John Tyrrell Pdf
Of Russian, French, and later American nationality, Stravinsky's musical styles are startlingly diverse, reflecting his life and era; from Tsarist Russia, to 1920s France and post-war USA. His early years in Russia saw him launch his international career, with Dyagilve's Ballets Russes in Paris and the premieres of The Firebird, Petrushka and The Rite of Spring. Between 1920-1939 Stravinsky lived and worked in France, producing his great neo-classical compositions, reactivating the modes and manners of the eighteenth century. This stylistic inclination eventually gave way to a highly individual use of serial techniques in his last years, when he took up residence in the United States. This biography of Igor Stravinsky is one in a new series of composer biographies, derived and adapted from the second edition of The New Grove Dictionary of Music and Musicians. These newly written biographies bring the best of the book-length pieces in The New Grove to a wider audience. Each title provides fresh new insights into the life and works of a major composer, derived from the most recent scholarship. In addition to a detailed and informative view of the subject's life and works, written by an expert in the field, each book includes comprehensive, tabular work-lists and a fully revised and updated bibliography.
The riot that erupted during the 1913 debut of Igor Stravinsky's The Rite of Spring at the Théâtre des Champs-Élysées in Paris has long been one of the most infamous and intriguing events of modern musical history. The third in a series of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece combined disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics into a literal fury. In the century following its premiere, The Rite of Spring has demonstrated its earth-shattering impact on music and dance as well as its immortalizing effect on Stravinsky and his career. Having gained international attention by the age of 30, what direction could Stravinsky's path forward take after the momentus events of 1913? After the Rite: Stravinsky's Path to Neoclassicism (1914-1925) traces the evolution of Stravinsky's compositional style as he searched for his own voice in the explosive musical world of the early 20th century as he responded to harsh criticisms of his work. Throughout the book, author Maureen Carr presents new transcriptions and sophisticated analyses of selected musical sketches to show the genesis of Stravinsky's musical ideas as he forayed into surrealism, classicism, and abstraction to develop his signature Neoclassical style. Exploring these annotated compositional experiments--such as the earliest evidence of Stravinsky's appropriation of the "rag idiom" and the development of his so-called "sound blocks"--After the Rite provides new insight into how Stravinsky challenged and guided the musical developments of the decade after that legendary Paris premiere. Enlightening visual metaphors, such as the contemporary paintings of Paul Klee and those of the Russian futurists, supplement discussion of the musical sketches throughout, offering a comprehensive artistic context for Carr's unprecedented and rigorous examination. A treasure trove of outstanding material for scholars, musicians, students, and general readers alike, After the Rite offers a much-needed delineation of the concept of musical neoclassicism. Maureen Carr's innovative and detailed examination of the metamorphosis of Igor Stravinsky's compositional style after The Rite of Spring is an invaluable contribution to the literature concerning this iconic 20th century composer.
